Physical Address
304 North Cardinal St.
Dorchester Center, MA 02124
Physical Address
304 North Cardinal St.
Dorchester Center, MA 02124
After a gripping saga spread across six seasons, the curtain has finally fallen on FX’s acclaimed series “Snowfall,” a brainchild of the late John Singleton. The series, which first graced our screens in 2017, provided a vivid tableau of the crack cocaine epidemic that gripped Los Angeles in the early 1980s. At the heart of this narrative was Franklin Saint, portrayed with compelling depth by Damson Idris, whose journey from a hopeful teenager to a drug kingpin forms the crux of the story.
The series finale, which serves as both an ending and an epilogue, sees Franklin Saint in a state of desolation. The once powerful drug lord finds himself living in squalor, grappling with alcoholism in his childhood home, which is on the brink of repossession due to unpaid taxes. This stark ending is a far cry from the ambitious young man who once sought to control his destiny, free from the constraints of a conventional 9-to-5 job.
In his final moments on screen, Franklin rejects help from his old friend Leon, asserting his freedom, albeit in a tragic context. “I don’t have no fucking chains on me, man. I’m free. I’m free from all of it—my fucking way, not yours and not theirs,” he declares, a line that encapsulates his entire journey. It’s a freedom that comes not with triumph, but with resignation and defeat, highlighting the series’ nuanced take on the cost of power and autonomy.
Dave Andron, the showrunner, shared insights into Franklin’s fate, emphasizing the bittersweet nature of his freedom. According to Andron, Franklin’s decision to isolate himself and turn away from any attempts to rebuild his empire or make amends marks a definitive end to his tumultuous saga. This decision underscores a thematic core of the series: the relentless pursuit of power often leads to isolation and ruin.
The finale also leaves several storylines open, allowing viewers to ponder the future of other characters such as Louie, who remains in hiding, and Veronique, who is raising Franklin’s son abroad. This open-ended conclusion invites viewers to engage with the narrative even after the series has ended, pondering the long-term consequences of the characters’ actions.
The impact of “Snowfall” extends beyond its immediate narrative. John Singleton’s portrayal of the crack epidemic and its effects on the African American community has sparked discussions and garnered critical acclaim. The possibility of a spinoff focusing on Leon’s wife, Wanda, suggests that the narrative Singleton started may continue to explore new dimensions and characters.
However, as Andron notes, any potential spinoff would not compromise the integrity of “Snowfall’s” storytelling. This commitment to authenticity has been a hallmark of the series, earning it a dedicated fanbase and critical acclaim.
“Snowfall” joins a lineage of television shows like “The Sopranos” and “Breaking Bad,” which have also provided ambiguous or unconventional conclusions to their lead characters’ arcs. Unlike these characters, Franklin’s end comes not through death but through a life that might feel worse than death—a life devoid of connections, purpose, and identity.
This ending serves as a poignant commentary on the destructive impact of the drug trade, not just on individuals but on entire communities. Franklin’s downfall is not just personal but communal, reflecting Singleton’s broader critiques of systemic issues affecting urban African American communities.
As “Snowfall” concludes, it leaves behind a complex legacy. It’s a show that has deftly navigated the intersections of ambition, power, and morality. Franklin Saint’s journey, marked by both meteoric rise and tragic fall, offers a canvas for viewers to reflect on the broader social implications of the drug trade depicted in the series. The end of his journey might be seen as freedom by some, but it also serves as a cautionary tale about the costs of such freedom.